Encontré esto en [url="http://www.forwhommetallicatolls.org.ru[/url] , espero les guste:
Aclaro FWMT es el entrevistador del sitio For Whom the belltols Metallica y FR es Flemming Rasmussen
Flemming Rasmussen - Producer Of 'Ride The Lightning', 'Master Of Puppets', '. . . And Justice For All', and 'Live Shit: Binge And Purge' - Interview - 15th November 2005
FWMT: Had you heard of Metallica, or listened to Kill ‘Em All, before they worked with you?
FR: No I had never heard of the band before. They were looking for a studio with a good in-house engineer, and had heard the work I’d done with Richie Blackmore and contacted me.
FWMT: What was your favourite album of the 3 you worked on?
FR: It’s hard for me to say. It’s between “Ride the Lightning” and “Master of Puppets”
FHMT: Can you give us a critical review of the Metallica albums you worked on – what you like, what you don’t like, anything you think could have been done better, and anything you think was ahead of its time?
FR: “Ride” was a blast. I didn’t know the band, so we spend some time getting to know each other.
We also had a huge problem with James’s guitar sound, as the amp he used on “Kill ‘Em All” had been stolen, so we tried almost every amp that was in Denmark at the time, till we got something we liked. All in all we spend a lot of time trying to create the Metallica sound, recording Lars’ drums in a big empty backroom etc, and there was a sense of a common goal, we were working to achieve. All in all a pretty good album if you ask me.
“Master” was really focused. We knew what we wanted and, worked hard to get it, but it was very hard work. By this album we were pretty sure what Metallica should sound like, and got it almost right.
“Justice” was hard and a long tuff haul. I came in on the session after 10 month, and they had nothing on tape when I got there. So there was a lot of work to do and I had to be back in Denmark after 4 months. They wanted a dry upfront sound and we put a lot of work into getting the sounds. “Justice” have probably influenced all Metal albums since, with the sharp clickin’ BD etc.
FWMT: When I think of my favourite albums, I have 2 categories, lyrically and musically. With your profession, you would have a third, production quality. So which are your favourite Metallica albums based on these three categories.
FR: Ride – Master –Metallica. Not necessarily in that order.
FWMT: What do you think of the sound on the following albums that you did not work on:
Kill ‘Em All? . . . . . . . . . . . . . . . . . . . . . . . . .8 out of 10
Metallica? . . . . . . . . . . . . . . . . . . . . . . . . .10 out of 10
Load? . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8 out of 10
Reload? . . . . . . . . . . . . . . . . . . . . . . . . . . . 7 out of 10
Garage Inc (first CD)? . . . . . . . . . . .9 out of 10
St Anger (especially this one!)? . . Not sure sometimes I love, it sometimes I hate it.
FWMT: What did you think when you heard the final mix on AJFA?
FR: I thought it sounded pretty much like, what was the goal during the session - Dry upfront sounds, but it was very clear to hear that it was a drummer and a guitar-player who had assisted in mixing the album.
FWMT: It has been said that the bass sound on AJFA has 3 aspects to its weakness – Jason played a bass line that very much mimicked James’ lines, so it is not easy to hear, the bass sections where recorded before you came in on the production and thus did not benefit from your expertise, and James and Lars mixed the bass out of the mix on the master. What is your opinion on these 3 explanations for Jason’s sound (I have heard all 3 reasons used individually and in combination).
FR: Well it's true Jason very much mimicked James’s lines, but I think the key point to the lack of bass on “Justice”, is the lack of attention to the bass in the mix. The bass recordings on ”Justice” are top quality, both in the playing, and in the recording.
FWMT: What do you think of the work Bob Rock has done as producer?
FR: I like it. Metallica is a masterpiece.
FWMT: Were you disappointed you were not asked back to do Metallica?
FR: No - not at all. I knew pretty soon in advance they were trying to use another producer, but as that also was the case on “Justice” I was on standby for a month or so, till they were sure it would work out.
FWMT: Would you work with them again if they asked?
FR: Definitely Yes. We had a great time doing the 3 albums I did and it would be fun to do another album with the guys.
FWMT: Do you have any interesting anecdotes from working in the studio with Metallica?
FR: Lots, but I’ll keep that to myself, at least until I’m not in the music business any more. People have to rely on me keeping what happens in the studio to myself.
FWMT: It is widely known that both Lars and James can be strong willed especially in the creative process, and especially with each other. Was it difficult working with any of the members of Metallica?
FR: No, not really. I had the advantage of being able to speak to Lars in Danish, and that gave us some degree of freedom, as nobody knew what we were talking about. But the conflict between Lars and James was not that big a problem, as they were on the way up, and that is so much funnier, than being in the top and fighting to maintain your position.
FWMT: What did you think of the movie Some Kind Of Monster?
FR: I liked it. It very bold and gives a good behind the scenes view of what its like to be in a band, and how hard it can be even for the best of friends to interact.
FWMT: what changes and progression did you notice in the band’s writing and recording processes between Ride The Lightning and Master or Puppets, and between Master Of Puppets and . . . And Justice For All?
FR: Well - it was obvious that the Metallica song writing style got refined during the process. I think they probably couldn’t evolve it further, and that’s probably why they changed the concept for the Black Album. (One song one riff as apposed to the albums I did).
“Ride” had one or two unusual songs, but some of the great classic is on that album also- so.
FWMT: What was it like coming into the recording process on . . . And Justice For All, was it stressful, what was it like without Cliff, and did it seem as if Jason had fully integrated into the band?
FR: No. It more like coming back to see old friends, and relatives. I flew over and sat down behind the desk and work started. 4 months later we had a finished album. As far as Jason’s situation, he was clearly the new guy in the band. He did his bass work, and held a pretty low profile, but he did pretty good.
It was of cause hard doing the “Justice” album without Cliff, but at the time I took over, the session was already 1 and a half month into the making, so we didn’t have it present in our minds, except when we recorded “To live is to Die” which is a tribute to Cliff, and actually co-written by Cliff.
Thankyou Flemming for your time.
Flemming Rasmussen Supplemental Interview - 17th November 2005
These answers were provided much more quickly, so i don't think Flemming was able to spend as much time on them. As a result, these answers are not as detailed. Questions supplied by Whiteiris.
FWMT: In your recording approach on Ride The Lightning, Master Of Puppts, ...And Justice For All, would there be anything you wish you could've changed with the knowledge you have now?
FR: There's always things you can do better, but in general im pretty happy with the approach.
FWMT: When recording guitars & bass what is your favourite technique?(I play bass and would like some new tips on getting the best out of my sound)
FR: Hard to explain. I listen to the sounds in the studio, and start fucking round with it.
FWMT: Actually, how amazing was Cliff was he just genuis when it came to music?
FR: Pretty amazing. Not that tight, but musical as hell, and very innovative.
FWMT: How has your studio set up and equipment changed over the last 20 years?
FR: A lot. The desk is still the same, but the recording media has gone from 24 track analog, to ProTools HD.
FWMT: Since the recording of Justice, what type of bands have you worked with?
FR: All kinds.
FWMT: When you first met James, Lars, Kirk, Cliff, what was it like? Also how was there expirience in the studio, did you have to guide them alot?
FR: Yes. They were not that experienced in working in a studio, so there was a lot of guiding.
FWMT: What are you favoured microphones for recording vocal, bass, guitar and drums?
FR: I have no favorites. It changes from project to project.
FWMT: Do you use Pro Tools? If yes what are the pros and cons? if not why?
FR: Yes I do.
FWMT: Last question from me, I play in a band and we want some honest criticism! Would it be possible to send you some of our work and get some feedback on it!?!
FR: Yes send it to the studio.
Again, Flemming, thakyou so much for your time!
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